ON VIEW DAY AND EVENING AT 


THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK, FROM 
SATURDAY, APRIL 21st, 1906, UNTIL THE DAY 
OF SALE, INCLUSIVE 


THE 


VALUABLE PAINTINGS 


COLLECTED BY THE LATE 


JOSEPH JEFFERSON 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF HIS EXECUTORS 


AT MENDELSSOHN HALL 


FoRTIETH STREET, East oF Broapway, ON FRIDAY 
EVENING, APRIL 277TH, secinnine promptty at 8.30 0’ ciock 


CATALOGUE 


OF THE 


VALUABLE PAINTINGS 


COLLECTED BY THE LATE 


JOSEPH JEFFERSON 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF MRS. JOSEPH JEFFERSON AND 
EDWARD G. BLACK, ESQ., EXECUTORS, ON THE 
DATE HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY OF : 

THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK: 1906 


ill 


COMPILED AND ARRANGED BY 
- MR. THOMAS E. KIRBY 
. MR. C. A.WALKER 


Press of J. J. Little & Co. 
Astor Place, New York 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise between two or 
more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which is merely a nominal or 
Sractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 

3. The purchasers to give their names and addresses, and to pay down a cash 
deposit, or the whole of the purchase-money, if required, in default of which the Lot 
or Lots so purchased to be immediately put up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Eapense and Risk within twenty- 
four hours from the conclusion of the Sale, and the remainder of the purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on 
or before delivery; in default of which the undersigned will not hold themselves 
responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at 
the sole risk of the Purchaser. 

5. While the undersigned will not hold themselves responsible for the correctness 
of the description, genuineness, or authenticity of, or any fault or defect in, any 
Lot, and make no warranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting or other Work of 
Art is not what it is represented to be, use every effort on their part to furnish 
proof to the contrary; failing in which, the object or objects in question will be 
sold subject to the declaration of the aforesaid expert, he being liable to the Owner 
or Owners thereof, for damage or injury occasioned thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the 
Purchases, no Lot can, on any account, be removed during the Sale. 

7. Upon failure to comply with the above conditions, the money deposited in part 
payment shall be forfeited ; all Lots uncleared within one day from conclusion of Sale 
shall be re-sold by public or private sale, without further notice, and the deficiency 
(if any) attending such re-sale shall be made good by the defaulter at this Sale, 
together with all charges attending the same. This condition is without prejudice to 
the right of the Auctioneer to enforce the contract made at this Sale, without such 
re-sale, if he thinks fit. 

8. The undersigned are in no manner connected with the business of the cartage or 
packing and shipping of purchases, and although they will afford to purchasers every 
facility for employing careful carriers and packers, they will not hold themselves 
responsible for the acts and charges of the parties engaged for such services. 


THe AMERICAN ART ASSOCIATION, ManacGers. 
THOMAS E. KIRBY, AucrioneErr. 


THE COLLECTION OF JOSEPH JEFFERSON 


Ir is a rare mind that is endowed with the double sensibilities of appreciation and 
knowledge of art. Add to these enthusiasm and an intense love of nature, with the 
ability to paint, and you have a combination of qualities given only to a few. 
Joseph Jefferson’s personality possessed all these, and it would hardly be possible 
to find another collector of pictures who drew more deep pleasure and true happi- 
ness out of his paintings. Art was a part of his daily life, and became so interwoven 
with his character that I doubt if he would have lived to such a ripe old age and 
have kept so fresh and joyous had it not been for the constant stimulus he received 
from this source. He used to say: ‘‘ No man is fit to live without a hobby; if it be 
for pictures, he’s a happy man, but he will find it an expensive one.’’ He com- 
menced in early life to paint, and when financial success came to him in his pro- 
fession, he began to buy pictures. His first purchase was an early example of Corot; 
thus he set a high standard for himself in the beginning. After a series of years he 
gathered together his first collection of about eighty works, which contained many 
rare examples of the Barbizon School and the modern Dutch painters. These were 
installed in his first house at Buzzards Bay, Mass. There he built a gallery to ex- 
hibit them in, as an addition to his home. Upon its completion he personally 
superintended the hanging of the entire group. He had worked hard for many 
months to finish this work to his satisfaction. On Friday, the next day after the 
task was finished, he went to New York. On the following morning, after his arrival 
there, he received a telegram that his home and entire collection had been con- 
sumed by fire. On the following Monday I saw him at the old gallery of Messrs. 
Knoedler & Co., where we met by appointment to greet our common friend, Mr. 
L. F: Roos. We were listening to his ‘sad rehearsal of the details of the fire, when 
a telegram was handed to him, He hastily tore it open and read: ‘‘ Mauve ‘ Sheep,’ 
Israéls, Daubigny ‘ Dieppe,’ and small Corot saved.’’ With his face lit up with joy 
and his eyes filled with tears, he exclaimed: ‘‘ Thank God! My great works are 
spared. I can now build up another collection.’’ Addressing Mr. Roos, he said: 
**Tf it had not been for you, dear fellow, these paintings would have been burned 
with the others.’’ At the latter’s urgent request, ‘‘The Return of the Flock,’’ 
‘*The Madonna of the Cottage’’ and ‘‘The Port of Dieppe’’ had been sent to a 
loan exhibition in New York City. They had been returned to Buzzards Bay the 
night before the fire, and placed in the hall on the first floor until such time as 
they could be rehung. When the fire broke out they were hastily taken to a place 


of safety, together with the Corot, his first purchase. All the other pictures, 
however, and the entire house and furnishings were consumed in about twenty 
minutes. 

This collection may therefore be said to be founded upon a high standard, 
beginning with the masterpieces of Mauve and Israéls. With a catholic taste and 
excellent judgment guided by a cultivated instinct, he gradually built up the new 
group. His independent mind and enthusiasm possibly led to the buying of some 
pictures which are not of the highest standard; yet, like most collectors, he was 
continually culling and weeding out and adding better material. 

He would often say: ‘‘I cannot have all the good things, neither will my purse 
allow me to indulge largely in the examples of the Barbizon School. I must be 
content with a few master works and leave to the millionaires the ownership 
of the others. ”’ 

His experience with his first gallery led him to abandon the systematic display 
of paintings arrayed side by side. He remarked: ‘‘I will hereafter distribute my 
pictures on the walls of the living rooms of my home, where I can see them daily 
and enjoy them with my friends.”’ 

It may be said of this collection that its foundation rests upon the modern 
Dutch School, more especially Mauve, as it contains eleven examples, including 
his two greatest efforts. His love of this master was little short of worship, and he 
lived to see the appreciation and world recognition of the Millet of Holland. 
Nearly as many more Mauves were burned in the fire, his former collection being 
represented by seven examples. Next in appreciation came Israéls, Jacob Maris, 
Neuhuys, Blommers and Kever, painters of the human character and the poetry of 
peasant life. ‘“The Madonna of the Cottage, ’’ full of tenderness and spirituality, stands 
alone in its dignity and simplicity. It is a splendid example of this famous school. 

Corot appealed to the heart of Mr. Jefferson as the highest in landscape art. 
He never ceased to praise his work, calling him the king of landscape painters. 
His own early works were largely influenced by the style of this master. He was 
captivated by the magic poetry of the painter of the dawn and the evening, justly 
styled the Mozart of landscape art and the Beethoven composer of symphonies 
of classic compositions. He was charmed with the idyllic loveliness of the dewy 
meadow scenes, and ponds with willows and birches fringing their banks. From 
the fascinating series of landscapes painted of the village of Ville d’ Avray 
he selected ‘‘The Horseman’’ as a typical representative of this period, for its 
poetic quality and delicate color-sense. 

Daubigny was also in great favor. Of the two remaining landscapes, ‘‘'The 
Evening on the Oise ’’ seems to be the most complete and sparkling. It is moist 
and fresh and full of vitality. The other, a village scene, entirely different, is cool 
and refreshing. It is full of movement, and, with a deep consciousness of nature, 
the artist has recorded a scene of rural loveliness. Daubigny, in this mood impetu- 
ously passionate, always appeals to the painter. 


The example of Troyon antedates his cattle subjects, and is representative of 
the landscape period. It is large and spacious and highly finished. The other example 
is broader, more forcible in brush-work, and is bolder in style and color. It is of the 
cattle period, and more sketchy than the former. 

One of the features of the collection is the great work of Van Marcke, ‘‘ The 
Cattle on the Plains,’’ a veritable masterpiece. It is without question the most 
brilliant and showy of all his efforts. This is one of the great modern works. The 
composition is grand and dignified, representing great space; the cattle are finely 
grouped and the color is opulent. No cattle painter has ever reached a higher level 
except his master Troyon. The other example is mellow and warm and pastoral 
in motive. The artist has unconsciously forgotten convention and fascinates us with 
a scene direct from nature. 

Mr. Jefferson had a passionate fondness for rich color, and always demanded cheer- 
ful furnishings around him. He gathered together in his European tours quantities 
of old silver, brass, Oriental stuffs and rugs. This passion for decorative objects and 
brilliant color led him to be an ardent admirer of Monticelli, the magician of the 
palette, a dreamer of the Orient, a sensuous painter of fairy grottoes, enchanted 
gardens and beautiful women in silks, satins and brocades. Five examples of this 
artist appear in the catalogue. The largest and most important work is of his 
earlier decorative style; the others are representative examples of his ripest period. 
Such luxurious color is found in no other painter’s work, save possibly Diaz’s, who, 
it is said, had hidden Monticelli for several years, in order to discover for himself 
the secret of his wonderful imagination and the marvellous tints of his palette. 

The example of Vollon was selected for its brilliant arrangement of silver, glass, 
fruits and flowers: a rare specimen of the skill, craftsmanship and fine decorative 
qualities of this master without a peer as a painter of still-life. 

The gem of the collection, and the rarest work, is the portrait of ‘‘ Petronella 
Buys,’’ the burgomaster’s wife: a splendid achievement by the great master Rem-— 
brandt. This choice example, full of the tenderness of feminine grace, is dis- 
tinguished in style and characteristic of the aristocracy of the old Dutch. There is 
genuine life expressed in this portrait. The quaint costume of the times, with the 
broad ruff and strings of jewels, are suggestive of opulence. The golden color from 
the magic brush of Rembrandt pervades the work. This is a rare opportunity for the 
collector, as such examples of the great master of portraiture are seldom presented 
for public sale. ; 

The old Dutch School is further represented by two examples of Rem- 
brandt’s famous pupil, Nicholaas Maes. The larger work, a two-thirds length 
portrait of a gentleman of the Court of France, is especially noteworthy for the 
graceful arrangement of drapery and picturesque costume, as well as the golden 
glow of the canvas. This work shows the influence of Van Dyck in pose and the 
painting of the hands. The small portrait of a Court lady, very similar in treat- 
ment, is highly finished and agreeable in color. It is sincere in workmanship 


and carefully executed. While not representing the famous early period of Maes, 
when most influenced by his master, these pictures are finely conceived and hand- 
some in color. 

In the selection of portraits, Mr. Jefferson may be said to have had a decided 
preference for the English School, as shown in the examples of Reynolds and 
Lawrence. These artists are represented by distinguished works. The portraits 
of Sir Joshua, by himself, are extremely interesting and highly original. One, 
in the prime of life, is a brilliant achievement from his facile hand, and is especially 
effective in chiaroscuro, and its color sense is rich and Rembrandtesque. The other, 
less dramatic, represents the kindly old gentleman. The portrait is conspicuous 
for its fine tone, broad, simple style and gracious presence. The smaller example, 
‘*The Death of Dido,’’ is the subject motive of the famous work in the British 
National Gallery. It is especially effective in its Venetian-like color and fanciful 
design, directly inspired by the Old Masters. Of Lawrence we have an important 
work, ‘‘ The Angestein Children’’: a beautiful example of this celebrated painter. 
Charming in style, distinguished in composition, it represents a group of lovely 
children at play under the shade of noble trees. Among the many figure subjects 
of Lawrence this large canvas commands attention, and is especially notable for 
its grace and ideal treatment. 

‘*The Portrait of Canova’’ ranks high among the choice works of the English 
School. It is a graceful and noble example of the master. The carriage of the head, 
with the character of the sitter strongly depicted, added to brilliancy of style and 
rare color scheme, with the superior quality of draughtsmanship, makes this a fas- 
cinating picture ; and the ideal head of ‘‘ Bacchante,’’ a distinct Lawrence type 
of beauty, is full of youth and feminine grace. 

There are three interesting portraits of especial value to the dramatic profession: 
A head of Macready as William Tell, by Inman; the portrait of Richard Brinsley 
Sheridan, by Gainsborough; and of Kemble, by Harlow. This group was highly 
valued from historic association by Joseph Jefferson, and it is hoped they will find 
a place on the walls of some institution, where they can be enjoyed by the dra- 
matic profession. 

“The Harvest Queen,’’ by Hoppner, and ‘‘ The Gypsy Girl,’’ by Inskipp, are 
fanciful subjects and representative examples of the Old English school of genre 
painters, both in design and color. 

There is a single example of the Italian School by Simonetti—an allegory on 
peace and war. This is a popular canvas, painted with a careful brush and excuted 
with academic fidelity. The subject is both interesting and pleasing. 

De Goyer, of the Spanish School, is represented by a vivid and forcible impression 
of a bull-fight. 

Jeannin, the famous painter of flowers and still-life, is represénted by a large 
composition. This artist has won many medals and honors, and is recognized as one 
of the greatest flower painters in France. 


Has not the acquisition of these -pictures been a potent factor in the delicate 
refinement and subtle quality expressed in Mr. Jefferson’s stage career? Was not 
the spirit of Corot, Mauve and Israéls echoed in the exquisite poetry of his own art? 

To those who shall become the fortunate owners of these paintings there will 
be an added value—the feeling of love and deep reverence that inspired the bring- 
ing together of this famous group and the association of Mr. Jefferson’s name with 
each and every work. The collection bears testimony of his deep love of Nature 
and Art. 


CHARLES A. WALKER. 


SALE FRIDAY EVENING 
APRIL 27rx, 1906 


AT MENDELSSOHN HALL 


BEGINNING PROMPTLY AT 8.30 O'CLOCK 


No. 1 
P JOHN CONSTABLE, R.A. 
AS 
v \ (ATTRIBUTED ) 
LANDSCAPE 


A SMALL upright view of a roadway disappearing through groups of tall trees, with 
a glimpse of blue sky. 


Height, 1714 inches; width, 14 inches. 


ADOLPHE MONTICELLI 
wv : FRENCH 

1826—1872 
ee. /1tyer, fz ees 


THE WOOD NYMPH 


ground, and a loose, Grea robe of brilliant colors covers the lower part of | ; 
figure. ee 


Signed at the right, MonticEvu. 


No. 3 


if 0) ROBERT L. NEWMAN 


AMERICAN 


Y. Jllac noo 1827— 


VIRGIN AND CHILD 


A DECORATIVE work with a brilliant color scheme. Newman’s paintings are gener- 
ally fanciful conceptions. He worked with Millet for many years and drew inspira- 
tion from his master’s early period, when, like Diaz, he painted for color’s sake. 


Height, 8 inches; width, 64 inches. 


\o" eee No. 4 — 
E Mearotela. oo- UNKNOWN : —_ 


LANDSCAPE AND OLD MILL 


A. view of a picturesque moss-covered mill, showing a dam upon the right, wi 
water-chute and overshot wheel. A road winds out of view behind the mill an 
heavily wooded steep bank rises in the background. Huge boulders are ] 

in the foreground and the stream runs over a rocky bed on the right of the Pp 


Height, 12 inches; length, Bi hes. 


~ 


ae aa 


No. 5 


0 
| vi JEAN BAPTISTE GREUZE 


(ArrrisuTep) 
on ee cine py a ds 


PORTRAIT OF A YOUNG GIRL 


Tuis shows a side view of a young girl with reddish hair and large eyes that look 
through heavy lashes. The flush of youth tinges the lips and cheeks. It is painted 
in a transparent, thin manner and in a light key. It is characterized by freedom and 


refinement of treatment. 
Height, 16 inches; width, 1234 inches. 


No. 6 


au ADOLPHE MONTICELLI 
4 FRENCH 
, : 1826—1872 
Cootlier re 3 30 — | a 
PORTRAIT OF HIMSELF 


: 7 ORS ae 
TREATED in a broad style, it is principally interesting as being his own impres- 

sion of himself. It is painted in profile, and the aquiline nose and the high, 
rounded forehead, suggest a man of force and creative power. B 


Tae 


Height, 1234, inches; width, 83/, inches. 


No. 7 


O 
l, ADOLPHE MONTICELLI 


v 


FRENCH 
1826—1872 


— oo 60> 


MEPHISTOPHELES 


A FANCIFUL figure suggestive of the title, dressed in a scarlet costume, with a 
pointed cap, and playing a guitar. The background is a forest with rich green and 
yellow foliage. 


Signed at the right, MonTIcELLI. 
Height, 19 inches; width, 10 inches. 


STUDIES BY ANTON MAUVE 


Ear -y in his life Mauve became a close student of nature, making a large num- 
ber of pencil and charcoal drawings in the field. He also worked out of doors for 
years, making careful anatomical studies of horses, cattle and sheep in color. Of the 
latter series, many were however completed pictures. A year before his death, 
Mauve mounted these studies upon mahogany panels, finished, revarnished and 
signed them. After his decease Mr. Jefferson obtained them from his widow. 


No. 8 


? ANTON MAUVE < ee 


DUTCH ru 


1838—1888 
SF eee (cee 
ON THE DUNES < LS nn 


Tus little study was made at Laren, Holland, near the seashore, where the light \ 
green marsh grass grows up in patches through the white sand. It was, with the 
addition of a flock of sheep in the foreground, used as the motive of a large oil 
painting, an important work now owned ae E. B. Greenshields, Esq., Montreal, 
Canada. 


Signed at the right, A. Mauve. = a ty 
Height, 61 inches; length, 10 inches. 


No. 9 


ANTON MAUVE 


yr a 


1838—1888 
Bort. La L-OG — 


THE OLD RED HORSE 


A Horse, bearing prominent marks of hard usage and a laborious existence, stands in 
three-quarters view, back to the spectator, facing the left. The sunlight strikes full 
upon the animal, strongly accentuating the forms, and casting a deep shadow upon 
the ground. 


Signed at the right, A. M. 
Height, 1214 inches; length, 174 mches. 


No. 10 


a ANTON MAUVE 


DUTCH 


ihe LK. Si ef WN 


THE OLD DUN COW 


STANDING in an open field, chewing her cud, this old dun-colored cow is a picture 
of kindliness and patience. Slightly foreshortened, she stands with the light coming 
from behind. The play of shadows and the subtle gray tone of this study are char- 
acteristic of Mauve. It was a favorite of Mr. Jefferson’s on account of the delicacy 
of its color. He used to say: ‘‘This is a kindly old cow. One never is afraid of being 
hooked by her.’’ The effect is of morning sunlight through a hazy atmosphere. 


Signed at the right, A. Mauve. 
Height, 12 inches; length, 18 inches. 


7.4 a ea). eae ee oe eS eee ee eee ee 
: 7 


No. 11 


ANTON MAUVE 


Bf Looe ies DUTCH 


1838—1888 


“THE PENSIONER” “¢@¢ — 


An old white farm-horse, which has apparently been turned out to spend the 
remaining days of his life in pleasant repose in a pasture, stands in three-quarters 
view, facing the left, near a fence which divides a broad field. The sunlight strikes 
upon the animal from the upper right, casting deep shadows upon the bars of the 
fence, and in the distance a line of trees extends across the picture in the horizon, 
and on the right is a suggestion of farm buildings overhung by trees. This picture, 
which was named by Mr. Jefferson ‘‘ The Pensioner,’’ appealed strongly to his 
love of animals, and he often spoke of it as an example of exalted sentiment and 
poetical rendering of a subject which, if otherwise treated, would be commonplace. 
Signed at the right, A, Mavve. 
Height, 13 inches; length, 17 inches. 


No. 12 
ANTON MAUVE 
\ DUTCH 


BAe Pelee (0 tg esse Be 
GROUP OF CATTLE 


A stupy from nature of a group of cattle, some standing in the water and others _ 
upon the bank of a stream, with trees on the opposite side in the distance. This | 
sketch shows a rare perception of values and a unity of tone for which qualities — 
the works of Mauve are highly esteemed. it 


Signed at the right, A. Mauve. ee 
Height, 111% inches; length, 2114 inches. — 


4 No. 13 


\ ANTON MAUVE 


DUTCH 


1838—1888 


fre CHatunwe 4M — 
INTERIOR OF THE BARN 


A BARN, with open door through which a glimpse of landscape is seen. From this 
opening the light shines upon a figure of a peasant, with pitchfork, stirring up the 
bedding in the cattle tie-up. There is a big round tub of water in the foreground 
and a well-filled hayloft overhead. 


Signed at the right, A. Mavve. 
Height, 14 mches; length, 17 imches. 


ANTON MAUVE — 


ay 


DUTCH eo " 


Vi WpBes 690 ) 18381888 


: 


RED AND WHITE cow een 


Tuts study is one of the most complete of the series. It is painted ii in s ees : 
light, with a vigorous effect of light and shadow. The play of sunligh = 
back of the cow, and the shadows of blue and violet, contrasting with she 
of marking, are typical of Mauve’s brush. ; | ae 


Inscribed at the right, ArELiER Mauve. - ‘ os | 
Height, Ai inichan length, 18 


a. cae 
| 


ANTON MAUVE 


DUTCH 


| pe Cu rtrxre -67/— egg 1888 


STUDY OF AN OLD MILL 


A wnote from nature of a moss-covered mill, with water-chute and wheel. The 
ground slopes down from the level of the pond above. Behind the pond is a back- 
ground of green trees against a gray sky. Shadows from hidden trees play over 
the grassy surface of the ground. 


Signed at the right, A. Mauve. 


No. | 16 


\\° y? NARCISSE VIRGILE DIAZ 
FRENCH 


Le pas 1809-1876 


: TWO PANELS—FIGURES 


THESE two little panels represent fanciful groups of figures, p 
‘surrounding. They represent the earlier period of Diaz’s work. 


» 


Each, height, 5 inches; le : 


(y 


| i) o : 


Fg 
at Vs | 


No. 17 


CHARLES FRANCOIS DAUBIGNY 


Mr CZ Glorer, Plo6 — a 
ep 


EVENING ON THE OISE 


DavuBiGny was a lover of the river and seashore, and a born enthusiast. Filled with 
the inspiration of nature, he loved to float down the calm surface of the River 
Oise in his houseboat, rising early to catch the mists of morning, or viewing the 
villages by twilight and lingering to catch the shimmering rays of the pale moon- 
light. It was this spirit that gave us his beautiful landscapes, with rich, green grass 
and skies full of moving clouds. 

A bend in the river is shown in the composition, with a rich mass of towering 
trees. The river bank forms the foreground, and around the bend of the river 
a boat lies near the shore, while blue hills are seen in the distance. The sky 
is full of movement and luminous light, warm and mellow, suggestive of approach- 
ing evening. The outline of the trees forms a beautiful silhouette and the picture 
gives one the feeling of great space and distance. It belongs to the period of the 
** Oise and Seine ’’ landscapes, which are among the best of the artist’s works. 


Signed at the right, Dauzieny. 
Height, 17 inches; length, 251% ches. 


= 


yt 


ae 
als ie ; : i 
Ao ? ‘ 
emi a Seg 
7 Hy Ne’ | 


uf 
yy 


No. 18 
yy Oo — = 
4 y : CONSTANT TROYON 
_ FRENCH A — 


| A yh 
OF tapgerhaen Nee ie 57 


LANDSCAPE | 
; hy a e 
_ Troyon painted in his early and middle period landscapes pure and simple, with — 
small figures for notes of color. During this time his works, finely finished, closely 
resembled those of Rousseau in treatment of foliage and general technique. Both | 
painted their subject from the same forest. This example shows towering oaks in rich | 
greens and autumn tints, against a blue sky of great depth. A rider on a white ya 
‘horse is about to enter the woodland road. Two small figures in brilliant scarlet dress i 
are in the immediate foreground. | . 


mek 


| ” No. 19 
EMILE VAN MARCKE 


| FRENCH 
Dp. A Tetugiler 1827—1891 
43 0L — 


LANDSCAPE AND CATTLE 


Tuis picture represents a wooded pasture, with a group of oaks in mass which rise 
on the left of the composition. A patch of open green forms the foreground. From 
under the trees and bushes two cows are being driven by a milkmaid. A white cow 
with red spots, in the foreground, head down, is browsing the grass. The sun- 
light is shining upon her back, making a brilliant spot of light. On the right of 
the composition a path leads up over a rocky knoll, and through an opening is vis- 


ible a bit of distant trees and sky. 


Signed at the right, Em.Vawn Mancke. 
Height, 191 inches; length, 28 inches. 


E XxX — 
rH hy mt 
. SS, No. 20 
Lois won JEAN BAPTISTE meray 9 ROT ne 
ok 


Vee 


ott” 
iad wld FRENCH oie id re a 
Conf 
1796—1874 ge. 4 \ 
WA ete ee ‘_- 
ath WO 


“THE HORSEMAN ”—LANDSCAPE AT VILLE D’AVRAY 


yes 


Tus painting is of the famous ‘‘ Ville d’Avray ’’ series. Upon the right of the 
composition is a large group of trees, with wide-spreading branches. A road, start- 
ing from the foreground, winds around the borders of a pond. A horseman is 
seen in the middle distance, a mother, with a child in her arms and a little one by 
her side, is walking in the road, while a fourth figure is seated on the edge of the 
pond, contemplating the village of white houses on the opposite bank, a portion 
of these showing through the branches of the trees. The wooded hill beyond fades 
into the distance against a sky partly covered by floating clouds. 

It is an interesting fact to note, in connection with this collection, which contains 
a single example of Corot, that Joseph Jefferson’s inspiration in art dated from 
the purchase of a charming landscape by this master. This Corot was the founda- 
tion of his love for art, and the beginning of the two collections which he after- 
wards made. It was one of the four paintings saved from the fire which entirely 
consumed his first group. These facts, and the associations connected with its pur- 
chase, have led Mrs. Jefferson to retain this early example. 


Signed at the left, Coror. 
Height, 1934 inches; length, 2534 imches. 


7 
} 


FRENCH 


1810—1865 


a f cattle ce. at noonday, with one of the number standing near a 


‘- i Sf | on the left, Venrz Troyon. 
® Sa . 


Height, 181% inches; length, 211% inches. 


No. 22 


g THOMAS COUTURE 
FRENCH 


flrors Layne M hee 1815—1879 


THE FUGITIVE 


In the foreground of a desolate landscape is ane ite: of a man cedtehne on. all ‘ fe 
' fours on rough and rocky ground, apparently searching for water to quench his a 
thirst. The figure is unclad except for a cloth around the loins, and the flesh, in 
strong sunlight, comes out in vivid contrast against a rough, rocky hillside beyond, 
over the crest of which is seen a turbulent sky with small patches of strong light. 


Signed at the left, TC, % es 
Height, 2534 inches; length, 3314, inches. 


” 


Seite itt ite ee ee ag 


No. 28 
CHARLES FRANCOIS DAUBIGN Y 


FRENCH 


1817—1878 gpk 


oe AMierla- 6 Jia — 
THE ENVIRONS OF A FRENCH VILLAGE 


Tuis picture, while not so representative in type as the former, possesses the 
qualities of direct work from nature. It shows a French village, with thatched 
and red-tiled roofs against a gray sky. The shower has just passed over, and the 
rolling clouds are breaking into light. In the foreground is a vegetable garden, in 
which the cool greens of the cabbage plants are contrasted with the warmer notes 
of green grass in the middle distance. A grove of trees upon the left, with patches 
of sky showing through them, gives height to the composition. 


Signed at the left, Dausicny, 1877. 
Height, 20 mches; length, 3134 inches. 


No. 24 


\ | ADOLPHE MONTICELLI 


FRENCH 


— 1826—1872 


COURT LADIES IN THE GARDEN 


Two ladies of the court, possibly the Empress Eugénie, with a companion, in the 
garden of the Tuileries. The attitudes are those of ladies of high court in con- 
versation. They are gorgeously arrayed in velvet, silks, satins and laces. Monticelli 
was fond of painting the Empress, and represented her in many canvases. 


Signed at the left, MonticEu. 
Height, 1614 inches; width, 1034 mches. 


No. 25 


ADOLPHE MONTICELLI 
FRENCH 


fo, FO — 1826—1872 


ane VENT GARDEN — 
ue 


_— 


re Beents two nuns walking under a bower of vines in a convent 
ich is ereglor with yellows, and rich transparent greens. It is more 


Height, 1334 inches; width, 1034 inches. 


rf | No. 26 


(s JEAN BAPTISTE GREUZE 


FRENCH “Y 


4 


Jb 2s VI25—1805 
Pre Uy Oates 


PORTRAIT OF MIRABEAU 


Portrait of the famous French statesman in his youth. It is in nearly front view, 
with the face turned toward the left shoulder. The eyelids are slightly drooping, 
the brows highly arched, and the lips of the delicately formed mouth are slightly 
parted. The coat is of a yellowish brown tone and has a velvet collar. The neck is 
ornamented with a band of lace, tied in a simple knot underneath the chin. 


Height, 25 inches; width, 21 inches. 


NCE K. EARLE, A.N.A. 


AMERICAN 


1845— - 


of a sun-burned, wrinkled fisherman, of the type found on 
husetts. 


No. 28 


FRANCISCO JOSE DE GOYER 


SPANISH 


V 1746—1828 
\ 
FH: Shoo tley, TOC 


THE BULL FIGHT 


TuE incident of the fight illustrated is when the matador is impaled upon the horns 
of a furious bull. The distant outline of the arena is shown. A crowd of frantic 
bull-fighters, with uplifted hands and horror-stricken faces, are following up the 
infuriated bull. A large hound is jumping at the beast. The color of the bull is steel- 
gray blue, and the head and shoulders are black. The struggling matador has 
dropped his scarlet blanket, which lies in the foreground. His left hand grasps 
the bull’s horn, his right is extended in agony, and his head is thrown back as if 
writhing in pain while being borne aloft by the bull. A ray of sunlight shines 
through an opening in the canopy overhead and illumines the picture with a 
rich glow. 


Height, 14°24 inches; length, 21% inches. 


No. 29 


y 


\' HENRY INMAN 


AMERICAN 


1802—1846 
ee fe 7/2 
PORTRAIT OF MACREADY 


TuHis is a portrait of Macready as William Tell. The head is turned slightly to 
the right, the neck is bare, a white tunic shows above the folds of a garment of dark 
material, and a heavy fur robe is draped over the left shoulder. The hair is arranged 
in a loose, free manner. The color scheme is warm and agreeable, and the whole 
effect harmonious. This portrait was also greatly prized by Mr. Jefferson, and 
hung in a prominent position in the reception room at ‘‘ Crows’ Nest.’’ 


= 
#4 


CCS a re 


\° No. 30 
\ a ae oe" ENGLISH SCHOOL 


/ bo— 
LANDSCAPE 


On arugged bank in the left foreground is seated a peasant woman with a child, 
and nearby stands a man with a shaggy pony. The reds and blues of the costumes, 
strongly illuminated by sunlight, are in vigorous contrast against a rocky slope in 
the middle distance, which is crowned by a group of steep-roofed houses. On the 
right, at the foot of the eminence, a broad beach sweeps around to an expanse of 
water which, extending to the far distance in a soft summer mist, shows here and 
there a few vessels. On the beach are seen people at work and at the foot of the hill 
a peasant man and woman are engaged in loading a cart drawn by a white horse. 
The sky is nearly covered by soft, drifting clouds, the light being concentrated on 
a mass of vapor near the upper left. 


Height, 19 inches; length, 2714 inches. 


No. 3l 


vil NICHOLAAS MAES 


% DUTCH 
} Gia x 1632—1693 
I WW eu atttw S/o — 6 69 


PORTRAIT OF A COURT LADY 


A SMALL portrait painted with an oval border. It is of the same period as the larger 
work. The dress is of dark purple velvet, with folds of loose lace crossing the 
bodice and winding about the arms; and the hair, curling loosely upon the fore- 
head and worn over the ears, falls in two graceful tresses over the shoulders. She 
wears a necklace and earrings of pearls. This work, which is evidently the portrait 
of some prominent lady of the Court, was taken from the panel of an ancient carved 
sideboard, where it had remained for many years. 


Signed, N. M. 


Height, 18 inches; width, 14 inches. 


No. 82 


\ 
"x 
~ SIR BENJAMIN WEST, P.R.A. 
(ATTRIBUTED ) 
AMERICAN 
Ue 
Yh Sree b0- 1738—1820 
ST. JOHN 


TuE half-length figure of the infant St. John, in an attitude of adoration or suppli- 
cation. With both hands clasped and his head raised, he turns his eyes heavenward 
as if in prayer. The figure is partly draped in a fur mantle of irregular shape, lined 
with blue. On his right a small wooden cross lies on the rock against which he is 
eaning, and on the left of the figure is shown the head of a lamb. 


Height, 22 inches; width, 174% inches. 


No. 33 


NICHOLAAS MAES 


DUTCH 


~ 1632—1693 


OF A COURTIER 


the late period of Maes, when he painted for the Court of France. 
wig of long curly hair are typical of the Louis Quatorze régime. 


t Van Dyck in character. 
; Height, 281% inches; width, 231 inches. 


No. 34 


SIR JOSHUA REYNOLDS, P.R.A. 


ENGLISH 


; i Vv 
fp //ao— 1723—1792 


THE DEATH OF DIDO 


THE original study for his famous masterpiece in the British National Gallery. 
This popular subject of the romantic series has been reproduced in mezzotint, and 
it is classed among his greatest achievements. The prostrate form of the dying 
Dido is lying on the funeral pyre, which is partly concealed by a mass of red dra- 
pery. Her form is wrapped in a flowing white robe, only the breast being bared. — 
A dagger lying in the folds of the robe suggests the manner of death. A female 
figure with outstretched arms and open hands is looking into the agonized face. 
Behind the group rises a column of dark smoke from the newly kindled fire. In 
the upper left corner is seen the figure of an angel. The sky is of a dark, deep blue 
tone, with a gleam of light showing on the horizon. 
Height, 14 mches; length, 171% inches. 


EXx — UXxx 


No. 35 


BERNARDUS JOHANNES BLOMMERS 


DUTCH 
— | 1844— 
3 | ie 2 OE 
a Orie el: S/OCO = 


THE HAPPY FAMILY 


ARowunpD a table, in a cottage interior, before the open window, are seen a little 
girl standing, a small boy leaning upon the opposite side, a chubby-faced little child 
at his side, and the mother with her baby in the cradle. The mother is peeling pota- 
toes and the children are rolling them about on the table. The simple room, with 
a single chair and a few delft plates over the curtained door of the chamber, sug- 
gests a humble home. The sunshine streaming through the window is echoed in 
the happy faces of the children and of the contented young mother. In the summer 
of 1904 Mr. Blommers and family visited Buzzards Bay to meet Mr. Jefferson, and 
see his collection. When I notified him of their coming, he telegraphed for this 
picture, which was in the writer’s studio at the time, to be sent to him at once. 
On their arrival they were heartily greeted and ushered into the dining room, where 
Mr. Jefferson had the picture prominently hung. It caught the eye of the author as 
he took his seat at the table directly in front of his own painting. The pretty com- 
pliment was in keeping with the life of Mr. Jefferson, who was always doing some 
act to make those about him happy. This episode made the entire company merry 
and the day a joyous one. 


Signed at the right, BLommeErs. 
Height, 15% imches; length, 19 inches. 


: No. 36 


THOMAS GAINSBOROUGH, R.A. 
Ty 


ENGLISH 


GS Ce ee Jap OM 1727—1788 


PORTRAIT OF RICHARD BRINSLEY SHERIDAN 


Tuts portrait of Sheridan was held in especial favor by Mr. Jefferson as his ideal of 
the young and famous English playwright whose comedies above all others he en- 
joyed acting. His character of Bob Acres in ‘‘'The Rivals’’ will remain in the 
memory of the public as one of his great successes. He used to speak of the beauty 
of this young frank face, with bushy hair, large, expressive eyes, finely formed Grecian 
nose and cupid-bow mouth. The head is in three-quarters view, to the left. A white 
scarf, with lace edge, around the neck loosely falls over the lapels of a dark collar of 
velvet. The coat is of gray-green broadcloth. A bit of foliage is suggested in the 
background, contrasted against a blue sky. 


No. 37 


JOHN HOPPNER, R.A. 


a P ENGLISH ‘ 
iG (Ket Be 551810 1 * 


- x i] 
ie 


ee 4 HE HARVEST QUEEN 

i 

A FANCIFUL portrait of a maiden beauty, panied against a mass of foliage, with a 
~ touch of blue sky showing through. The seated figure is in side view, with face 
_ turning to the front. She holds a broad hat in her right hand and a sheaf of wheat 


ae rests in her lap. Over the canvas is diffused the warm glow of golden autumn tints. 


<< a ; ‘ fj. ? ; . Height, 30 inches; width, 24% inches. 


7, No. 38 


FRANK S. EUGENE 


AMERICAN 


Contemporary 


re J arrkAas /40— 


THE MANDOLIN PLAYER 


(Copy of Franz Hats) 


WHuiLeE in Holland Mr. Eugene made a copy of Franz Hals’s famous work, ‘‘The 
Mandolin Player.’’ It is especially LOTSA for its freedom, which is the 
principal charm of the original. 

Height, 20 imches; length, 30 imches. 


No. 39 


. Sa UNKNOWN 
eee ae, 270— 


KNIGHT IN ARMOR 


TT the portrait of a handsome young knight, clad in steel armor, showing the 
~ head and shoulders. The face, full of vitality and character, with upturned mous- 
— >t che, imperial beard and curly hair, rests against a high neck-ruff. The head is 
m turned slightly to the left, with the eyes looking to the right. A broad band of 
ooh drapery crosses the breastplate from shoulder to waist. 

4 ee ae |  -Height, 814 inches; width, 22 inches. 


| 


No. 40 


f ALBERT NEUHUYS 


DUTCH 
yt 


VA nm 
SK (LCL ae 
THE YOUNG FISHERMEN 


Nervuuuys, besides his views of domestic interiors, has painted many out-of-door 
scenes. ‘‘ The Young Fishermen ”’ represents brother and sister angling by the canal 
bank, under overhanging willows. This picture was selected from the Chicago 
Exposition as a note opposite to the sombre interior of the Dutch cottage. 


Signed at the upper right, NevuHuys. 
Height, 1534 inches; length, 194% imches. 


Y a” No. 41 
JACOB SIMON HENDRIK KEVER 


DUTCH 


leer 


LEARNING TO WRITE 


A younG boy student pondering over his slate, learning his first lessons in writing. 
His hands rest upon his slate, his elbows upon the table. There are brilliant notes 
of color in the tablecloth and in the vase of flowers. 


Signed at the left, Krver. 
Height, 18 inches; length, 2034 mches. 


ss No. 42 
q 
‘ 5‘) 4 / 
JACOB MARIS 
vi 
- DUTCH 


1838—1899 


: 
ATC Hlorrerig 6/00 — 


CANAL—AMSTERDAM 


Tuis canal view in Amsterdam is a typical example of the artist’s ripest period. 
The tops of the buildings of the town are seen above the trees. Upon the right of 
the composition a windmill towers into the soft gray sky of rolling clouds, and 
these are reflected in the water. The sky-line is skilfully handled, and the notes of 
blue and red canal boats add to the charm of the color scheme. 

Maris may be said to be the strongest painter of the modern Dutch School. He 
was a pupil of Couture, and after occasional periods of figure painting devoted him- 
self to the landscape of his country, and has left a wonderful group of paintings 
behind him. He ranks with the greatest in Europe. His landscape work is charac- 
terized not so much for poetry as for vigor, robustness and tone. His wonderful 
studies of rolling clouds laden with moisture, his views of Dutch towns, canals 
and windmills, are large in treatment and always dignified. His strength of mind 
and body is ever evident in the largeness and breadth shown in the execution of 
his canvases, and his individuality is marked. Intimate with nature in early life, 
he knew its moods and forms so well that he could carry into the studio impres- 
sions and render them upon canvas with fidelity and beauty. He might be styled 
the Constable of Holland, for his works represent space and largeness. He loved 
to depict the morning clouds before the rain, the bursting rays of sunlight after 
the storm, over sea and land. He gave great dignity to his town views by suggest- 
ing detail only in grand masses, combined with rich tones and color. 


Signed at the left, Manis. 
Height, 1644 inches; length, 1914 mcehes. 


No. 43 


ANTON MAUVE 


ai” 


“} DUTCH 


1838— 
yo 


PLOUGH HORSES RESTING 


MAUVE was especially fond of painting horses. He never chose sleek and well- 
groomed animals, but preferred the work-horse, the farmer’s companion, rough and 
rugged, patient and kindly. The two tired horses have been driven up into the 
shade of the trees, away from the noonday sun, and patiently wait to be freed from 
their traces. A sorrel horse stands with his white mate, close to a line of trees on the 
edge of the field. The ploughman is seen over the back of the white horse, busy 
with the harness, and in the near foreground is the plough of the primitive kind 
still in use in Holland. The sunlight casts strong shadows beneath the animals. 
This picture was painted at the beginning of his Laren period, and was shown at 
the Comparative Exhibition in 1904 in New York. 


Signed at the right, A. Mauve. 
Height, 17 mches; length, 29 wmches. 


™m XX 


ae Ae. No. 44 


ur ede ae q? ALBERT NEUHUYS 


uv DUTCH 
1" eee ce 
e Gor th Sime JIVE Ue 


MOTHER AND CHILD 


A coMELY young Dutch mother, seated peacefully in her comfortable little cottage, 
is busily engaged in cutting out a new garment for her little girl, who stands at her 
knee attempting to attract the mother’s attention. On a rude low table near the 
group sits a cat which, pausing from its game with the sewing materials, watches 
intently the action of the woman as she runs the scissors through the cloth. The little 
domestic scene is illuminated by the concentrated light from a small window on the 
left of the composition, which vigorously accentuates the flesh and the drapery, 
and fills the broad shadows with warm reflections. 


Signed at the right, Aun. NeuHvyYs. 
Height, 2514 inches; width, 21 inches. 


6 No. 45 


On JACOB SIMON HENDRIK KEVER 
DUTCH 
Pe dw ie ae Re 


A CUP OF TEA 


Aw old Dutch peasant woman, wearing a tidy white cap and coarse garments, is 
seated at a table in a simple cottage interior, holding a small Bible in one hand, 
while she pours herself a cup of tea with the other. The figure is in strong light 
from the upper left. In the background are a few characteristic articles of 
furniture. 

Almost one of the last acts the writer had to perform for Mr. Jefferson was to 
purchase this work for his collection. Although very ill, he could not refrain from 
looking at and buying new pictures. This fine, crisp example of Kever’s appealed 
to him on account of the fresh vigor of its touch and its directness of painting, and 
the quaint severity of character expressed by the old Dutch lady enjoying her 
favorite beverage. The color scheme is rich, and entirely the opposite of ‘‘ The Sewing 
School.’”’ 


Signed at the right, Krver. 
Height, 20 inches; width, 1834 inches. 


No. 46 


MISS WALLY MOES 


DUTCH 


ey se 


AFFECTION 


1857— 


: Tus artist was a pupil of Mauve and painted with him at Laren. She follows — +7 
closely the master, particularly in subtlety of tone. The elder sister, seated in ave . 
chair, is holding the little sleeping brother with hands clasped around his waists) ° 
Signed at the upper right, Watty Moss, 93. & a yy, : . 
Height, 30 inches; width, 2114 pe) nl 


ae No. 47 


H. BELLIS 


STILL LIFE 


’ A sornr of uncooked beef, two cut steaks, an apple, celery, a cabbage and lettuce, 
and various other vegetables are grouped on a kitchen table in a modified light 
from the upper left. The background is a graded tone of gray. | 


Signed at the lower left, H. Brvus. 
Height, 231% inches; length, 29 inches. 


No. 48 


io, 
© 


LUDWIG MEIXNER 


GERMAN 


ee Mergomeg en le 


THE MOON 


In the left foreground is a bit of irregular sandy beach, and a rustic ferryboat with 
several occupants is being pushed from the shallow water to cross a little inlet to a 
landing place on the opposite shore. The rippling surface of the inlet twinkles with 
the reflected light from the full moon, which breaks through a stormy sky near the 
zenith. In the middle distance a point of land projects into the picture from the 
right, and on this point stands a large chateau surrounded by a high wall overhung 
by large trees. In the distance on the left is an open expanse of water, flooded by 
the moonlight, and beyond, in the horizon, is a lofty hill, partly concealed by drift- 
ing veils of rain from the storm clouds above. 


Signed at the lower left, Lupwic MEIXNER. 
Height, 23 inches; length, 30% inches. 


No. 49 


ny “y? ATTILIO SIMONETTI 


ITALIAN 


Contemporary 


PEACE AND WAR 


Tue scene is laid at the corner of a Roman street, and represents a blacksmith 
shop with door open wide. A helmet hangs outside, and guns and a wheel rest 
against the wall. A defiant warrior, with top boots and jaunty hat, is standing 
in front of an out-door forge. The smith, stripped to the waist, is repairing the 
warriors broken armor. Pincers and hammer lie upon the pavement. In con- 
trast with the significant occupation of the maker of warlike weapons and armor 
is the little baby girl seated in the open door of the workshop, with a dove by her 
side. A few feet away is a group of doves feeding on the crumbs thrown out for 
the amusement of the child. The artist has evidently intended to draw the parallel 
of innocence and youth, and the doves as emblems of peace, with the occupation 
of the father, who toils in the manufacture and repair of weapons. 


Signed at the left, Art1Li0o SIMONETTI, 1875. 
Height, 22 inches; length, 23 inches. 


AR XXX 


oY 
ye 
\ 0 No. 50 
© 
* he 20,008 
7. [heyer, REMBRANDT VAN RYN 
f 


: ete | DUTCH 


1606—1669 


NK 773. yo ASK 


PORTRAIT OF PETRONELLA BUYS, 
WIFE OF BURGOMASTER OF CARDON 


(Oval Panel) 


The ‘‘ Portrait of Petronella Buys’’ was brought to this country by Messrs. 
Knoedler & Co., of New York, who procured it from Charles Sedelmeyer, of Paris, 
in 1894, and was purchased of the former house by Mr. Joseph Jefferson shortly 
after this date. 

The following inscription is on the back of the panel: 

‘*Tonker Petronella Buys seyne Hurjsor naes dato gelrout sen de H* Borgem' 
Cardon.’’ Signed and dated 18385 (sic). 

Described in Smith’s Catalogue Raisonné, Vol. VII, p. 160, No. 497: 

‘*A lady about thirty-seven years of age, having an oval face, represented in 
nearly a front view. She has on a white cap, and wears a very large full ruff, edged 
with lace, and a black silk dress, and is adorned with a cluster of gold chains 
suspended round the neck, and reaching down to the bodice.’’ Dated 1633. 


Height, 3114 inches; width, 234 inches. 


Collection of Dz Hzrr Roos in 1836. Bis anata 
Collection of Apr1an Horr, London, 1894. $ Woe 


Dacha hese breurel (7 Vol ipa, plate FW s, 


No. 51— 


SIR JOSHUA REYNOLDS, P.R.A. 


AL. Ae ENGLISH Bree 
ee 


1723—1792 


PORTRAIT OF HIMSELF 


THERE are three examples of Sir Joshua Reynolds’s work in this collection. The 
most important is the ‘‘ Portrait of Himself’’ in middle life. Sir Joshua was fond 
of painting his own portrait, arrayed in fanciful costumes; and there are several 
of this description in existence, painted at different periods of his life. This work 
is a replica of the large well-known example in the British National Gallery, with 
the exception that it shows less of the figure. It is one-third length, with the 
head in three-quarters view to the right and the eyes turned towards the 
spectator. He wears a broad velvet cap, a dark reddish brown coat with velvet 
collar, and a white collar and lace ruff. The hair, brushed back of the ears, falls 
in a loose curly mass upon the shoulders. This portrait was loaned for a season to 
the Museum of Fine Arts, Boston, for the benefit of students. 


Dated 1770. 
Height, 30 inches; width, 2434 imches. 


RP pon 


No. 
SIR JOSHUA REYNOLDS, P.R.A. 


ENGLISH 


17238—1792 


PORTRAIT OF HIMSELF AT SEVENTY YEARS > 
ee wig 
ANOTHER portrait, painted in old age and of striking cones tO! ire other 7 
the prime of life. The great artist has grown gray; his eyesight has dimmed, 
sitating the wearing of glasses. The head is in full face. The mouth is drawn, : Ry 
the expression is dignified and kindly. : é ae i 4 

Height, 30Y inches; width, 25 inches. 


No. 538 


§ 


y/\ ANTON RAPHAEL MENGS 
GERMAN [ta aa 
1728—1779 


ie Va) Celle , 27/-— 


PORTRAIT OF AN UNKNOWN GENTLEMAN 


Tuis is a half-length figure of a middle-aged gentleman in full-bottomed white 
wig, brown velvet coat and breeches, and figured waistcoat. A broad band of 
red ribbon crosses his chest from the right shoulder and full ruffles fall over his 
wrists. He is seated at atable on which stands a metal inkstand with quills, and, 
holding a sheet of manuscript in his left hand, extends his right with a gesture of 
emphasis, while he turns his head over his right shoulder as if about to read from 
the paper. The background is a graded tone of gray, showing a green curtain on 


the right. 
Height, 42% inches; width, 331% inches. 


a 


\ GEORGE HENRY HARLOW 
pV ENGLISH 
1787—1819 


fe id Bas 
= rage. aa <i 
P i 
F Ma ay P - i 
a i . 2 es 7.) va A 
> ‘ a ae - a 
5 ae . 7 di r) 


aes Rt eh 45 
Poe peie. AP ho : 
: oe bow a fy 


\e No. 54 


Moro od 


PORTRAIT OF KEMBLE> 


shirt shows . his neck and wrist. 
Height, 30 inches; width, 2484 imches. re, 


Eee = 


No. 55 


GEORGE MORLAND 


ENGLISH 
ee ., [a ESEO—  1%68—1804 


THE BELL INN 


Two horsemen have halted for refreshment under the cool shadow of a thatched- 


roof English inn. One has dismounted and is sitting upon the ground, with a Bp By) 


mug of ale in his hand. His dark chestnut-red horse stands in front of the door. 


His companion sits in the saddle directly behind, upon a white horse. He has a Y | 34° 


bowl in his hand, just received from the barmaid, who, dressed in apron and 


snow-white cap, stands looking at him. Two setter dogs are seated in the doorway, oi 


anxiously watching their master for food. A large pump, with a pail, stands on 
the left of the picture. Over the roof hang the branches of a large tree, and the 
sign of the inn is seen at the end of the courtyard, together with a glimpse of the 
distant landscape and blue sky. 
Signed at the left, G. Moruanp. 
Height, 27 inches; length, 35 inches. 


(0 No. 56 | 


‘ 
ag SIR THOMAS LAWRENCE, R.A. 


eae ENGLISH 
1 bu Pete lw, JU 1169—1830 
A Tt J 
PORTRAIT OF CANOVA 


THE head is nearly in profile, turned to the left, and the eyes look in the same 
direction. He wears a velvet jacket, trimmed with fur, over a loose waistcoat, and 
a white shirt with a soft rolling collar. 

Canova had a picturesque head like Byron, with florid complexion and dark hair, 
and for the distinction of his type has been painted in several positions by Lawrence. 
This portrait formerly belonged to Henri Rochefort, of Paris, was imported by 
Messrs. Durand-Ruel, and was purchased for the Jefferson collection in 1896. It 
has been shown in New York at several loan exhibitions. 


Height, 38 inches; width, 30 imches. 


oa No. Biv 
JAMES INSKIPP 


ENGLISH 


cE SS me 1790—1868 
ss Fog 


THE GYPSY GIRL 


A YOUNG woman of gypsy type, seated, with her hands resting in her lap. A red 
cloak hangs loosely over her shoulders. She wears a high-crown hat with a broad 
brim. On the right is seen a landscape with a luminous sky. 

Height, 40 inches; width, 30 inches. 


rl 


a ri | : No 5a a ae a a 


| \ : SIR THOMAS LAWRENCE, RA. ae 
| | ie: * 
ENGLISH — = " 
: 1769—1880 . " be: wae 
visi rety ros aie ai a 
eehg ara | 


LawRENCE was fond of painting fancy heads, and left a nenbee of this ace dis- pn 
tinguished for their beauty of type. The ‘‘Bacchante’’ is one of the best examples ~ 
of this period. In this head the blush of youth is given with a purity of tone ar id oo 
delicacy in keeping with the subject. The curly hair interwoven with Hie leave Ae 
of the vine suggests the title of the picture. fi bok: in mg a 
Height, 201 inches ; width, nye heen 


if 
or 
ie: 


Fa No. 59 
» 


Y H. GUILMARD 


FRENCH 
ps i Mat 0 ee Contemporary 


CHARTRES 


THE motive of this picture is found in the old town of Chartres, and the view is 
taken from the middle of a canal leading back of the great cathedral, which rises 
high above a mass of houses in the middle distance on the left. The canal extends 
out of the picture and nearly covers the foreground. On either side are rows of old 
houses, some of them half timbered, and all of them with steep thatched or tiled 
roofs. The sky is covered with masses of cumuli, and the strong light is echoed 
on the quiet waters of the canal. 
Signed at the lower left, H. Guitmarp, 1875, CHartres. 


Height, 211% inches; length, 32 inches. 


No. 60 


f | 
6 FRANK 8. EUGENE 


V AMERICAN 


PORTRAIT OF CALVE IN “CARMEN” 


A HALF-LENGTH portrait of the famous singer in her most successful role. She stands 
erect with her head thrown back over her right shoulder, her left hand upon her 
hip, and her right raised to her neck. Her face is in three-quarters view to the left, 
and is framed by a mass of wavy hair which falls in large tresses upon either shoul- 
der. The eyes are turned directly toward the spectator. 

Mr. Jefferson commissioned Kugene to paint this portrait after he became 
acquainted with Calvé, in order that he might have a recollection of the famous 
artist in ‘* Carmen.’’ 


Signed at the right, F. Evczne. 
Height, 40 inches; width, 28 mches. 


0 No. 61 
\ ADOLPHE MONTICELLI 
FRENCH 
pa : Vie. 1826—1872 
Prawece So — 


CUTTING HER LOVER'S NAME 


Tuis is a fanciful composition of five maidens grouped together in a forest environs 
ment. It was executed at the time when Monticelli painted a series of decorative 
panels and more carefully executed works. The central figure of this group is seated, 
looking downward, and a second figure upon the left is looking upward, as if ad- 
miring her beauty. Another, with head covered with a broad hat, forms the right 
of the central group. Two other figures stand behind these. The one in front appears 
to be carving upon the bark of the tree the name of her lover. Another maiden, with 
hand upon her shoulder, is watching the inscription. The amber-colored background, 
suggestive of the glow of autumn, forms a harmonious setting for the fascinating 
group of maidens, sumptuously clad in silks and laces. 


Signed at the right, MonricEttui. 
Height, 61 inches; width, 391% imches. 


No. 62 


ANTOINE VOLLON 


FRENCH : (a s 


o Mowuger Cis 1833— a ( Ww + 
wort 9p f ae 


STILL LIFE oa 


A TALL silver beaker, a teapot, a glass vase with roses, a porcelain dish with fruits, 
afford the artist an opportunity to display his consummate skill in the imitation of 
textures and rich colors. | 

Mr. Jefferson had a fondness for rich and decorative objects in bric-a-brac, hangings 
and furniture. In his European tours he gathered together many objects in china, 
old silver and embroideries, which were arranged with taste in his former homes in 
Hohokus, N. J., and his first house at Buzzards Bay, Mass. Almost all of these 
precious relics were destroyed in the fire that consumed the latter place. Notwith- 
standing this great and irreparable loss, he could not refrain from adding to his 
newly built home at Buzzards Bay fresh notes of interior decoration and new paint- 
ings. He often said: ‘‘ The eye should always rest upon bright and cheerful objects. ”’ 
The writer spoke to him one day.of Vollon’s work and described the fine example 
which is reproduced upon the opposite page. Upon first sight he bought it. He said 
of Vollon: ‘‘ He is a master craftsman and a born painter. ’”’ 


Signed at the left, A. Votton. 
Height, 35 inches; width, 24 inches. 


\ No. 63 


ALEXANDRE LOUIS BOUCHE 


FRENCH 


aS ea ee, S35 SO _— (Puri or Coror) 


Contemporary 
LANDSCAPE WITH SHEEP—TWILIGHT 


A LARGE farmhouse with thatched outbuildings stands in a village street on a 
broad sandy road, and through the wide-open doorway of the barnyard a peasant 
woman, accompanied by a dog, is herding a large flock of sheep into the enclosure. 
On the right the road winds away between scattered: houses and disappears in the 
middle distance. The horizon is formed by a line of wooded hills against a brilliant 
sunset sky, and large, threatening storm-clouds drift up toward the zenith. Bouché 
has received many inspiring letters upon the quality of his work from the leaders of 
art in France. 

William Bouguereau writes: ‘‘I am happy to bear testimony of the high 
esteem in which I hold the talent of Mr. A. Bouché. The very interesting paint- 


- ings that he has exhibited in the different Salons and at the universal exhibitions 


have given him a rank among the first landscape painters of France. ’’ 

J. J. Henner’s words of praise: ‘‘I have said of Mr. Bouché he is one of our 
greatest landscape painters. For more than twenty years I have followed him in 
our Salons with admiration. He puts in his paintings the poetry of evening as no 
one else does, and I am happy to be able to pay him this tribute. ’’ 

T. Robert Fleury: ‘‘I have the highest esteem for the talent and personality 
of Mr. A. L. Bouché. He is an artist of the greatest quality and his paintings are 
certain some day to bring a very large price. . . . His paintings have the admi- 
rable manner and qualities of the school of 1830. I cannot say too much that is good 
for this great painter.’’ 

-Léon Lhermitte: ‘‘ What works I saw during my last visit in June were so 
vigorous and fresh, and executed with that powerful strength of which you nearly 
alone to-day possess the secret, that I look forward to our next meeting for a royal 
treat for my eyes.’’ 

** Paris, December 16th, 1904. 

**Sir: I am happy to tell you I have known Mr. Bouché for a long time, and am a 
great admirer of his talent. He is one of our first landscape painters. Receive my 
sincere salutations.’’—H. Harpignies. 


Signed at the right, Boucuk, 1902. 
Height, 39 inches; length, 46 inches. 


No. 64 


JACOB SIMON HENDRIK KEVER 


DUTCH 


1854— 


THE SEWING SCHOOL 


Six little Dutch maidens in a sewing class are seated with their teacher in 
front of an old thatched cottage, busily engaged in their allotted tasks. It is a warm 
day of early spring, and, intent upon their work, they are all unconscious of their 
surroundings. One of the little girls has been isolated from the others, apparently 
as a punishment, and sits apart near the open door of the cottage. On the right of 
the composition, beyond the row of busy children, is a vista over a cheerful spring 
landscape to a mysterious distance, where luminous clouds are gathered near the 
horizon. 


Signed at the right, Krver. 
Height, 2314, inches; length, 3334 inches. 


: 
7 
: 
: 
i 


ASXX 


No. 65 


THEOPHILE DE BOCK 


DUTCH 


1851—1904 


| f.,. dW). Atrauchaar, ¢3 voc 


LANDSCAPE—EVENING 


In the foreground is a small area of rough pasture, where patches of sand alternate 
with coarsely growing grass, weeds and small bushes, and two white goats browse 
upon a patch of rank verdure. On the right, growing in the edge of a large forest 
in full foliage, is an old birch with few leaves and many dead branches. On the left, 
in the middle distance, a low, irregular hill, crowned by a few stunted trees, is seen 
in silhouette against an evening sky filled with luminous clouds. A few birds hover 
around the tree-tops, seeking shelter for the night. 

De Bock received his instruction from Jacob Maris. While he was to a certain 
extent reminiscent of this painter, he had sufficient individuality to command rank 
in the modern Dutch School. He painted skies with rolling clouds similar to those 
seen in Jacob Maris’s works. 

This work, and another by Bouché, were the last purchases made by Mr. Jeffer- 
son, and were procured as he passed through New York on his way south. When 
asked why he wished to buy additional works of art while he was so ill, he replied: 
‘*They give me so much pleasure, now that I have given up my acting. Is it not 
fortunate that I have left to me my paintings and my love of nature? Please pur- 
chase these paintings for me and forward them to Palm Beach, Florida, where I can 
have the enjoyment of them during the winter. ’’ 


Signed at the left, Tu. pz Bock. 
Height, 30 inches; length, 45 inches. 


AS XXX 


No. 66 


JOSEF ISRAELS 


DUTCH 


3 POG gy s0- 1824— 


THE MADONNA OF THE COTTAGE 


Tuis artist has found themes in the lowly life of the fisher-folk of his own country, 
and, while he was also a painter of landscape, he made use of it only as a setting for 
his figures. His early work was labored and overwrought, somewhat prosaic in 
composition and often violent in: color when compared with his middle and later - 
periods. His work then became more sensitive and full of atmospheric charm, with 
luminous shadows, large, free and vigorous brush-work. To-day, at eighty-one, 
he looks out over a harvest of ripened years and reviews a life-work of marvellous 
success. His energy and indefatigable industry have been rewarded by countless med- 
als and honors. He has lived, like few other artists, to reap the benefit of his own 
efforts in life. At eighty years of age he received national honors from his Queen, 
his countrymen, contemporary artists and friends from two continents. In 1892 Mr. 
Jefferson selected out of the many great works from Israéls’ brush ‘‘ The Madonna 
of the Cottage’’ as representative of the best period of his painting. The title is 
suggested by the picture of the ‘‘ Madonna’’ which hangs upon the wall of the 
lowly fisherman’s cottage, in the dim light. The artist compares the Virgin and 
Christ Child with the young Dutch mother bathing the first-born infant. The fond 
mother bending over the fat, chubby babe, tenderly held in her lap, is gently dry- 
ing the little one after the bath. An arm hangs loosely over her hand, and the little 
foot and leg are drawn up as if in fear of the water. The mother wears a loose white 
cap, a pale blue homespun dress, a coarse apron, and clumsy wooden shoes. One 
foot rests upon the red-tile floor; the other is firmly planted upon a low stool. Close 
by her side is a chair, with a towel thrown over the back, and a bowl of water upon 
the seat. The figures are lighted by the glow of a fire in the open hearth, and also 
by a window which does not appear in the picture. Except for a few simple orna- 
ments and a clock on the mantel, the room is otherwise empty. 

Joseph Jefferson corresponded with Josef Israéls upon the merits of this work, 
and received as a gift an autograph copy of his *‘’Travels in Spain.’’ Upon the fly- 
leaf Mr. Jefferson wrote of his appreciation of the Madonna picture. 


Signed at the right, Jos. IsraEts. 
Height, 501% wmches; width, 4134 mcehes. 


a SE Reser eye mer ees oer tne ae 
* 2 a vy 


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so ff gt No. 67 
~ fy ANTON MAUVE 


DUTCH 


ote Gree fur 2 


THE RETURN OF THE FLOCK 


A LOVER of Millet and Corot, and inspired by the quiet scenes of nature, Mauve 
holds a high rank among modern artists. He was fascinated with the charmed brush 
of the Barbizon painter of the springtime, and his silvery gray tones find an echo 
on his palette. He admired the simplicity and quiet dignity of subject in the 
pictures of the great painter of peasant life; and his own works have much the 
same repose. In early life he was influenced by Troyon, as is seen in his cattle 
subjects, which show a similarity of motive and treatment. Like Millet he 
changed his methods and style, and, leaving the influence of these masters behind 
him, he located his studio in the quiet village of Laren in Holland, not far from 
the sea. Here he became Mauve, and, under the inspiration of the simple land- 
scape which surrounded him, he began to paint his own ideals. As a sensitive 
colorist he may be compared to Corot, and while his pictures do not possess the 
statuesque dignity of Millet, they are distinguished for unity, delicacy and beauty 
of composition. He died at fifty years of age, at the height of his reputation, and 
to-day his name is honored on both ‘sides of the Atlantic. With the exception of 
Corot, no other artist’s works have risen so rapidly in value after death. It would 
scarcely be possible for any one to receive more happiness from a work of art than 
Joseph Jefferson did from ‘‘The Return of the Flock.’’? It was his constant 
companion in later years, and he always refused to sell it, although he received 
many offers. He placed it in a panel at the end of his dining room in his new 
home. This space was specially arranged for the painting, and it was lighted 
by day from a large window, and at night by electricity. When at home he sat 
before it at every meal, and daily enjoyed its simple beauty. Every guest who 
visited *‘Crows’ Nest’’ was introduced to this important treasure as to a mem- 
ber of the household. I well remember how he remarked, when planning the 
building of his new house after the fire: ‘‘I shall construct my new home to 
receive my Mauve, and shall make it fire-proof.”’ 

**The Return of the Flock ’’ was purchased at the sale of the collection of Dr. 
Gerardus H. Wynkoop, of New York City, in 1890. It was given the place of honor 
in the centre of the south wall of Room No. 10 in the Paris Salon of 1887, and was 
awarded a medal. 


In the fall of 1886 Mr. William H. Howe, the noted cattle painter, made a 
visit to Mauve’s home in Laren. He writes: ‘‘ I was walking with Mauve one morn- 
ing when he got the first impression and motive of this masterpiece [a black and 
white charcoal and crayon drawing, since sent to the writer by Madame Mauve, 
after his death]. When we returned from the walk, Mauve was greatly interested 
with the motive and said he could make a greater work from it than the subject he 
had mapped out, which was then sketched upon canvas and tacked up on his studio 
wall.’’ A second charcoal drawing made of this subject was owned by the late Mr. 
L. F. Roos. 

Mr. Bastert, an artist friend, and Madame Hugenholtz, of Laren, his pupil, 
who now lives in the old studio, both affirm that the medal was always considered 
by Mauve to have been awarded for his ‘‘ Return of the Flock,’’ and this 
is the opinion of other artists in Holland. Mauve himself cared little for the 
honor, and never even sent for the medal, which remained in Paris for several 
months afterward, and only received his certificate. The secretary wrote to Mr. 
Bastert, asking him to take charge of the medal. A festival was secretly planned 
by Mr. Bastert and Madame Hugenholtz, and the Laren villagers, bedecked in gar- 
lands and flowers, assembled in a barn. The shepherd who had been Mauve’s model 
in the field for many years was dressed in a fancy costume and given the honor of 
making the presentation speech. Mauve was led, unsuspecting, into the midst of 
the assembly of his friends, who showered him with flowers and placed a wreath 
upon his head. The old shepherd then stepped forward and timidly presented the 
medal. The sensitive, modest artist received the same in silence, so overwhelmed 
was he with the ovation. This charming episode ended with music and a dance. 
All present at this festival knew that the medal had been awarded to Mauve for his 
masterpiece and last important work. He died in 1880, after an illness of many 
months. 

The picture represents an undulating stretch of open pasture with a low knoll 
rising on the right. It is covered with a heavy growth of heath, ripened and 
browned by the autumn frosts. Patches of white sand are seen here and there. On 
the hill-top, on the horizon, groups of bushes and a lone tree are relieved against a 
simple gray sky. A low line of hills is faintly discernible in the distance. A flock of 
sheep, with strong light playing upon their backs, casting deep shadows, are moy- 
ing across the pasture, following the lead of the shepherd. The main flock is closely 
huddled together, a few sheep are scattered to the right and left, and four lambs 
trot along behind; and one, weaker than the rest, in the immediate foreground finds 
it difficult to keep up with the flock. 


Signed at the right, A. Mauve. 


Height, 40 inches; length, 64 inches. 


ASA 


No. 68 


ANTON MAUVE 


th : DUTCH 


a 


F 


aN: 1838—1888 
\G Le ee ay Ce Po yee gees 


THE LOGGERS 


THE motive of this picture was found at Laren, the home of the artist in Hol- 
land, and it represents a group of workmen who have finished cutting down 
several large trees. Two are engaged in securing a log to a pair of wheels for 
transportation. The third, with uplifted axe, is trimming off the branches from 
the other logs. A pair of dark red horses, with a light sorrel red leader, are 
hitched to the wheels. They are at rest, with loose trace chains hanging from their 
collars. The leader has his ears pointed backward as if to catch the master’s word. 
The winter coats of the animals are ruffled with the cold, and the breath from 
their nostrils is congealed. The fallen logs, with moss-covered bark, show the ends 
of the new-cut wood, from which the sap seems to flow. A few chips and a stray 
branch lie in the foreground on the rough, frozen ground, which is covered with 
patches of dead grass. The men and horses are relieved against a background of 
distant trees. Over all is a cold gray sky, laden with the morning mist. 

Long before Mauve became known to the world of picture buyers, Daniel- 
Cottier purchased this vigorous canvas. He was commissioned to decorate the 
interior of the home of the late Bartol Schlesinger, of Boston; and “‘ The Loggers’’ 
was given a place of honor in the large reception hall of his mansion. Through 
the courtesy of Mr. J. H. Englis, the business partner and successor of Mr. 
Cottier, the writer had the pleasure of viewing this painting. It appealed to him so 
strongly that he asked of the host the privilege of bringing to see it Mr. Jefferson, 
who had for several years owned ‘‘The Return of the Flock,’’ and had become 
an ardent admirer of Mauve’s works. As he stood before it for the first time, with 
upraised hands he said, ‘‘ What a marvellous work of sobriety and strength!’’ He 


asked again, the following summer, to see the work, and made a third visit on the 
succeeding season. He then laughingly remarked to Mrs. Schlesinger, ‘‘If this 
picture is ever offered for sale, let me know.’ He little thought his request 
would be granted. After the decease of her husband, Mrs. Schlesinger wrote and 
offered him ‘‘ The Loggers.’’ He immediately sent his check, and became the fortu- 
nate owner. It was sent to Buzzards Bay, and hung in the music room. It was his 
custom to introduce his guests to his home by placing them in a position in the 
reception room, fronting the open arches leading to the dining room, at the end 
of which hung ‘‘ The Return of the Flock.’’ He would then turn them right-about- 
face and introduce ‘‘ The Loggers,’’ with a smile of satisfaction upon his face. 


Signed at the right, A. Mauve, 777. 
Height, 44 inches; length, 83 inches. 


No. 69 


ALBERT NEUHUYS 
[ 


DUTCH 


1844— 


bw kGaricek , fir 02 — 


FEEDING THE BABY 


A youncG mother, dressed in the simple costume of a Dutch peasant, is seated in a 
rude chair near a table, holding in her lap a small child whom she is feeding with a 
spoon. On the table stand a small dish and an earthen jug. 

The Dutch mother, with chubby baby, has been a theme upon which this painter’s 
brush has told many a story on canvas. There are true motherhood and sympathetic 
love depicted in his rendering of the various phases of maternity. He may be said 
to be of brighter humor and lighter in subject motive, and generally his palette 
is fuller in color than Israéls’. His pictures are always harmonious in tone and agree- 
able in composition. Like Israéls, he claims to touch the heart, and while the former 
may be more dignified and grander in conception, Neuhuys is a worthy follower and 
now takes foremost rank in Holland. He is always simple and broad in his art, and 
never trivial. He sent to the Chicago Exposition this important work, which was 
one of the most prominent of the Dutch exhibit. 

After leaving the Exposition at Chicago this picture was shown at the Boston 
Art Museum at a loan exhibition of a collection of paintings by Israéls and other 
contemporary Dutch artists. When Mr. Jefferson’s attention was called to this sturdy 
work of Neuhuys’, he commissioned the writer to purchase it, together with a 
smaller work entitled ‘‘ The Young Fishermen. ’’ 

While in Boston, in 1894, Mr. Neuhuys visited Mr. Jefferson’s home and had 
the pleasure of seeing this picture there. He then said that it was of his best period 
and was one of the most successful efforts of his life. 


Signed at the right, A. Nrvuvys. 
Height, 53% inches; width, 401% inches. 


No. 7O 


SIkh THOMAS LAWRENCE, R.A. 


ENGLISH 


1769—1830 


Wi. Vis horttex f.f000 toa 


¢e* 
THE ANGESTEIN CHILDREN 


THis portrait group, owned formerly by the Aneestad family, in England, for 
whom it was painted by Lawrence, is one of the largest works from his brush, 
and is thoroughly characteristic of the artist. It represents a group of children 
under the spreading branches of trees upon a side-hill slope, with a winding path 
leading out into the sunlight. A handsome type of boy, in velvet costume with 
white collar, stands near a tree-trunk on the right, with a besom in his hand. 
On the opposite side, facing him and seated upon the ground, is a little girl partly 
in light and shade, with uplifted face looking at her brother. In the middle, to 
the right, is seated the older sister, and supported by her arm is a chubby, golden- 
haired boy, holding a shovel which he is attempting to use. The two central figures 
are in full light against the shadowy background of the trees. The pervading 
notes of mellow golden browns and reds are united into a warm and harmonious 
whole. 


Height, 72 inches; width, 58 inches. 


No. 71 


© \ ~~ EMILE VAN MARCKE 


\ ve » FRENCH 
1827—1891 


eS. Glove fisqoce ie 


CATTLE ON THE PLAINS 


A THOROUGHLY representative picture by the famous cattle painter and foremost 
pupilof Troyon. During his life Van Marcke produced several large and important 
canvases which might be styled museum pieces. This example ranks high among 
his other great works and in some respects is perhaps the most dramatic and bril- 
liant in effect as well as the largest in subject motive. In it he rises to the dig- 
nity and power of his master, and has given us that feeling of grandeur and space 
which distinguish the productions of Troyon. The composition represents the 
flat pasture-land of Normandy. On the left the vista extends to distant hills and 
lines of trees, and in the middle distance on the right rise thin, high trees, with 
loose foliage. Beyond, a grove of trees is dimly outlined against a stormy gray 
sky, full of moving clouds clearing after a storm. A large herd of cattle is scat- 
tered in a graceful line from the foreground to the middle distance, principally 
in a mass on the left, where are seen two cows, dark reddish brown with white 
spots, and a third one, which is light red with a white face. The ground, 
covered with grass and herbage, is marked by the shadows cast by the cattle, 
which a herdsman seated upon a white horse is rounding up. The season is autumn, 
and the sunlight plays through the broken clouds upon the golden and yellow 
foliage or flashes over the plain, shining on the backs of the cattle. The cattle are 
admirably drawn and the work is painted with a vigorous brush in Van Marcke’s 
best spirit. 
Charles Coutry executed a brilliant etching of this painting. 


Signed at the left, E. Van Marcxe. 
Height, 55 inches; length, 79 inches. 


way 37 a ee i wien | 


Noel 


00 
GUSTAVE DORE 


Be as PEE oe _ FRENCH 


1833—1883 


DON QUIXOTE AND SANCHO PANZA 


THe doughty champion and his faithful attendant are seen in a shallow marshy 
swale, the former mounted on Rosinante and the latter on a wooden hobby horse. 
A few birds flutter over the heads of the pair, and just beyond them extends 
across the picture a rank of trees in sparse autumn foliage, showing between them 
the crest of a lofty mountain with a soft summer sky beyond. The glow from the 
sunset illuminates the landscape, casting long shadows in the direction of the fore- 
ground. 


Signed at the lower right, GY® Dor. 
Height, 431% inches; width, 33 inches. 


es | 


z ug 
lae/C: VICTOR CASIMIR ZIER 


— 


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we sF Mi iS es ; “a 


POLISH 


1822— 


ee ‘ps : 
nr Pax: kneeling figure of a woman is relieved against a background of gray cliffs, and 


e 


the sombre garments with which she is partly draped still further accentuate the 
tones of the flesh. She kneels upon her right knee, with both arms slightly extended 
on either side, and her head, with upturned eyes, is raised and turned toward the 
left shoulder. Her fair hair falls down her back and upon the ground, and a gold 
halo floats just above her head. On the foreground near the figure is a skull, and 
just beyond it a small rude cross is planted in the earth. 


Signed at the lower left, V. Zier, 1876. 


Height, 361% inches; width, 281% inches. 


ny, Oats ‘" GEORGES Jd E ANNIN oe ie it 3 


‘Contemporary © 


BOUQUETS FOR THE FLOWER MARKET 


f 


. peg a 
Tuis represents a mass of large bouquets prepared for the flower market. 
bunch of blooms is arrayed in stiff bouquet form, bound up in a white paper : 


: Signed at the left, G. Jeannin. Sikh ast 
Height, 52 inches; length, 64 in 


AMERICAN ART ASSOCIATION, oa 
"Masao 


THOMAS E. KIRBY, | | 
AUCTIONEER. | a Aee e ; 


Leper, LLG JESS 


MERS, ‘Berwanpus JOHANNES 


|The e Happy ay 


re 


i oS Horseman A ada e7 at Ville Avra 
~ covrurs, THomas 
re cos The Fugitive 


Fi _DAUBIGNY, Cuartzs Francois 
Evening on the Oise 


The Environs of a French Village 


e DE GOYER, Francisco José 
a ~The Bull Fight 


DIAZ, Naxcisse Vircire 
Two Panels—Figures 


CATALOGUE 
NUMBERS 


AT 
35 
65 


63 


20 


22 


23 
28 


16 


_ DORE, Gustave 


EARLE, Lawaence Ky ANA.) 25 0m 
} The Fishermen | ie 


ENGLISH SCHOOL : | Delhi eS IaaaRe Saa 
4 . Landscape ; . Becher ieee 
= ‘ : 
P EUGENE, Franx S. é <p oan ae ‘ 
Ry The Mandolin Player Re ei an 
: Portrait of Calvé in “ Carmen ” 7 “ar 
: GAINSBOROUGH, Tuomas, R.A. he 

_ Portrait of Richard Brinsley Sheridan 
3 GREUZE, Jean Baptiste 
Portrait of a Young Girl a ast 


Portrait of Mirabeau 


GUILMARD, H. 
_ Chartres 


HARLOW, Gerorcrt Henry | : 
Portrait of Kemble 


HOPPNER, Joun, R.A. 
The Harvest Queen 


INMAN, Henry 
Portrait of Macready 


INSKIPP, James 
The Gypsy Girl 


ISRAELS, Joser 
The Madonna of the Cottage 


+ i aa 
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(=e ae 


KEVER, Jacon Stuon Henprix 


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Canal—Amsterdam 


' ; . “MAUVE, ANTON 
On the Dunes: 
"The Old Red Horse 
The Old Dun Cow 
“The Pensioner ” 
Group of Cattle 
Interior of the Barn 
; Red and White Cow 
ei Study of an Old Mill 
a Plough Horses Resting 
The Return of the Flock 
The Loggers 


abe 
.s3 Bouquets a the Flower Market 


| Learning: to Write San at 


cud 


33 


42 


MEIXNER, Lupwic 
The Moon 


MENGS, Anton RaPHAEL 

zm Portrait of an Unknown Gentleman 
MOES, Miss Watiy s 
Affection aie 


MONTICELTA sores re eae nae i a 
The Wood Nymph ae — : ie i 
Portrait of Himself sk . 
Mephistopheles 
; Court Ladies in the Garden | 
In the Convent Garden | a 


Cutting Her Lover’s Name 


MORLAND, Gerorce 
The Bell Inn 


NEUHUYS, Arperr 
‘The Young Fishermen 
Mother and Child 
| Feeding the Baby 


NEWMAN, Roserr L. 
Virgin and Child 


REMBRANDT VAN RYN 
Portrait of Petronella Buys, Wife of Burgomaster of Cardon 


REYNOLDS, Sir Josuva, P.R.A. 
The Death of Dido 
Portrait of Himself 


Portrait of Himself at Seventy Years 


aed 


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